The intention is to introduce you to the people who have been carving their own path...with no care for what anybody thinks.

We try not to post things that are still for sale but sometimes post things that are not easily available. If you like what you hear, then find these people and tell them how great they are.

Better still, tell them and then seek out their new releases and buy them. We add links, when they are reliable and active, so that you can keep track if you so wish.

Always go straight to the artist or the label where possible. That way, the money goes straight to the people responsible for this art. These people rely on our support to keep going and make more quality releases!

Please feel free to leave comments as you go along...at least then we know you appreciate this stuff (or otherwise) and you're not just a bunch of freeloading file collectors.

If you made this music and we have pissed you off by posting any of this, please leave a comment in the post and the offending articles will be removed.

Gnod are "an ever evolving creature that sheds its skin and grows anew, it’s hard to pin down precisely who, or what, Gnod are. This bleeds into their music as well; steeped firmly in psychedelia but drawing from influences as disparate as Afro-beat, krautrock, drone, jazz and dance music, their recent release with White Hills, Drop Out, is a deeply immersive illusion of repetition whereby its motorik rhythms underpin a myriad of hypnotic textures. As a band they’re always creating, hours and hours of jams of which they occasionally see fit to release to the wider world. I say occasionally; since their formation in 2007 they’ve had at least twelve full-length releases and claim to have had many more. These appear out of nowhere though, with no fanfare or attention; Gnod aren’t wilfully elusive, but there is a mysticism that surrounds them nonetheless, an ever changing cast and a lack of information about them ... they keep themselves to themselves mainly, in a collective residency at Salford’s Islington Mill – a creative arts space where they live and rehearse." Quietus

Quite concise really. Gnod often get tarnished with the label of space rock and get compared to Hawkwind. I really don't get that at all. This is Kosmiche inspired psychedelia all the way down! The freak 'n' roll of Ash Ra Tempel, the motorik beat of Neu! and the groove of early Can. Add the punk-funk of, say, the MC5, the repetition of Suicide or Spacemen 3 and garnish with the psychotic theatre of Sunburned Hand Of The Man and you're closer to the truth. However, this isn't meant to date them or bind them in cultural reference points...Gnod are quintessentially Gnod!

I've listened to Gnod for ages and love them. However, I'm ashamed to say that I hadn't seen them live. That is until this year's Supersonic Festival. That's when it all fell into place for me! They were a quite literal revelation. That's when the collective spirit and joy really shone through. Completely inspirational. Gnod seem to be constantly touring the UK and have started to branch out into mainland Europe. Whenever you get the chance, go and see Gnod live! Which brings me to Islington Mill, the spiritual home of Gnod and a shining beacon in the mainstream sludge of Manchester. If you are anywhere nearby...keep an eye on this place! Gnod play here all the time but you will get to see everyone from Melt Banana to Sun Araw, Dieter Moebius to Acid Mothers Temple, Sunn O))) to Chris Corsano.

Gnod have just released a split lp (with A Middle Sex) on Blackest Rainbow. There are only 400 of these so I'd grab it now if I were you.

Thanks go to Gnod for being very supportive of this post going ahead!!!

Between 1983 and 1989 the Butthole Surfers were the finest band in the world (apart from the times when I thought somebody else was). I want Human Cannonball played at my funeral. I think they disappeared up their wormhole after Hairway To Steven...

I have very little time for black metal...I find it rather lame, theatrical and self-absorbed. However, this doc is pretty good. Tools dressing their ultra-far right racist xenophobic shite as a war against the establishment. An education is a good idea...

American "punk" had a rather tortured history...blemished in a rather major and unforgivable way by the Orange County knuckle heads and the sub-metal meatheads who jumped on their local bandwagon and then showed their true colours by the second album...show me an American punk band post 86...go on I dare you!

Amps For Christ is largely the project of Man Is The Bastard and Bastard Noise veteran and metal/noise pioneer Henry Barnes. Beginning in 1996, when Henry met the like-minded Enid Snarb the project (which has also included Joel Connell and Tara Tavi) has largely operated out of Claremont, California ever since. Barnes decided that he wanted to combine his experience with experimental noise and extreme metal with his love for traditional folk music, classical composition, and jazz. Henry has been building odd stringed instruments, pre-amps and amplifiers for years and used them occasionally in his previous outfits. With Amps For Christ he really began to focus on chasing down these new sounds. The warp in the harmonic scale, experimentation with waveforms and beat-tones are matters of great intrigue in this project. Amps For Christ is about combinations of many styles of music, emphasising the multi-cultured, multi-layered, and multi-genre composition as well as broadly ranged themes. Many tracks deal with love, peace, warmongers, rampant corporate capitalism, and Barnes' relationship with God all with a similar mystical honesty. Even if I suspect there may be a tongue implanted in a cheek somewhere down the line...

There hasn't been any new AFC releases for years although I think that there have been some recent tours...so hopefully there will be some new releases soon!

From the IMDb website: 'People Who Do Noise' is a film about the experimental music of Portland, Oregon. Extensive interviews and intimate performance footage provide an intense portrait of the motivations, emotions, and methods that go into this uncompromising, sometimes brutal musical form. Unwavering in its focus, the film brings to light an art form unfathomable to many, with only the words of the musicians themselves providing any explanation for the pulsating sonic chaos they create. The unflinching cinematic style defies any trend-setting or commercial representation, opting instead for a stark portrayal of a musical underground at its most genuine and vital.

There's a couple of other reviews here and here and you can buy it here and check the makers here.

Request from the shoutbox. This was posted on Terror Noise Audio a while back but the links are dead...no evidence that the post was pulled...so here it is again.

The group were heavily associated with the Minor scene in the late 70s and early 80s but released only a handful of recordings internationally, and scant more in their local Tokyo underground scene. As far as I am aware, Kousokuya only released one studio album in their 28 years as a trio with the rest of their output being live recordings. Even these were largely unavaiable outside of Japan until recently. This goes a long way to explaining why bands like High Rise, Mainliner, Fushitsusha et al are legendary and rightly lauded whilst Kousokuya slipped under the radar...

Kaneko passed away on January 24th 2007, but the group has since continued as a duo.

Maja Solveig Kjelstrup Ratkje is a Norwegian avant-garde composer and performer. She, of course, releases a wide variety of music but also performs music for films, installations, theatre, dance and performance art. Maja is a member of the Norwegian free improv group Spunk with Lene Grenager, Kristin Andersen and Hild Sofie Tafjord. She performs and records with Hild Sofie Tafjord as the brilliant electronics/noise duo Fe-Mail, and performs as Agrare, with Hild Sofie Tafjord and the Swedish dancer Lotta Melin. She has also played with the Oslo Industrial Ensemble, No Spaghetti Edition with Evan Parker and Rhodrie Davies, Paal Nilssen-Love, Masami Akita (Merzbow), Zbigniew Karkowski, Gino Robair, Jaap Blonk, Oslo Sinfonietta and Lasse Marhaug. She has performed a chamber opera by Dagfinn Rosnes, especially written for her voice, among many other things such as Icelandic film music by Hjalmar Ragnarsson and performing her own music for Ibsen's play "Ghosts" at the Northlands festival in 1999. Maja briefly describes her music and motivations here:

Most of Maja's work is (surprisingly) still available if you look hard enough. I've not included some of the most recent releases. Hopefully, you will find this music as enthralling as I do and start to search it out for yourself!

Finland's Doktor Kettu is Petri Hagner, Jussi Lehtisalo, Tuomas Niskanen, Alpo Nummelin and Jouko Salenius. Jussi Lehtisalo is probably best known for being part of the tightly structured krautrock of Circle and the stoner doom of Pharoah Overlord. With his side-project, Doktor Kettu, we're given formless and improvised soundscapes made by three guitars, bass, and drums.

There really are some great attempts to capture the experience of a Doktor Kettu release: "True caveman rock, but under heavy sedation. Like a bunch of semi-comatose zombies letting their guitars feedback deep in a tunnel while the drummer sometimes wakes up, stunned, hitting the skins a few times and then succumbing to the world of the undead once again"; "a Finnish drug thing you wouldn't understand"; "imagine a cross between Circle and Thuja" or "imagine Hawkwind or Acid Mothers Temple locked in a cave with broken instruments"; "installments from some massive on-going jam still happening right now"; "slow, meandering, very stoned ambient psych jamming to the max" and quite possibly my favourite..."imagine if you had neighbors who lived below you in a WWII bunker and all they did all day was listen to certain Fushitsusha albums...this is what you might hear through the floor." Basically, Doktor Kettu sounds like a rock'n'roll band being thrown down a well in low gravity.

The Kettu project appears to have been born simply because five friends wanted to get together to enjoy themselves! No info, no publicity and no tours that I'm aware of. The first five cdrs were all released simultaneousy with no fanfare and very little information in editions of a 100 a piece and quickly disappeared. The sixth arrived quickly after in an edition of 50. The recently released cd appears to have been recorded quite some time earlier, so who knows if we will ever get any more fresh Kettu...I hope so!

Jussi himself has described Doktor Kettu as being an "apocalyptic drone-free-psychedelic-low-fi-massacre.....three guitars, bass and drums"

Overhang Party were at the forefront of the highly influential Japanese psychedelic rock scene. The original line-up was Rinji Fukuoka (vocals, guitar), Koji Nishino (bass) and Iwao Yamazaki (drums). The line-up changed frequently with Rinji the only constant feature. The cast list is a long one but notably includes (at points)drummer Ikuro Takahashi who has played in Fushitsusha, High Rise, Kousokuya, LSD March and Maher Shalal Hash Baz amongst many others.

The band initially self-released the first LP in an edition of 200 before Rinji set up Pataphysique Records to release Overhang's output along with a wealth of other important works. The band's studio recorded material was limited but thankfully they made up for this by releasing a number of live slow burning psychedelic blow outs. 2003's "Out Takes..." was given away by the band at gigs at the time so I would imagine is pretty rare!

As usual with the Japanese underground, information is pretty hard to come by but there is a pretty good source here. The group folded in 2008 with Rinji going on to form the excellent Majutsu no Niwa. "High tension music results in a high voltage reaction," reckons Rinji Fukuoka and who am I to argue.

Hanatarsh is the work of Yamatsuka Tetsurō (better known as Yamatsuka Eye). Almost art terrorism in nature, it makes his work in UFO or Die and Boredoms look pedestrian by comparison. Early audiences were made to sign disclaimers waiving responsibility for any injuries caused during shows. Infamous examples of the mayhem include launching oil drums at the crowd, throwing molotov coctails, and driving a mechanical digger through the back wall of a venue as part of the performance. Now that's what I call making an entrance! He even carved into his own leg with an electric saw during one show, although that was probably an accident. Not surprisingly, the virtual (and sometimes literal) destruction of venues meant that nobody in Japan would allow him to play. When Hanatarash resurfaced during the mid '90s, it was without the extreme violence...which is either a good or a bad thing depending on whether you like wearing crash helmets at gigs!

It always cheers me up when there is new BSBC in the world! This came out a few weeks ago...got my copy...go get yours!

"Blue Sabbath Black Cheer returns with a new long-player CDr, pro-pressed in an edition of 250, entitled "HN"; featuring 1 new song from the gruesome terror noise duo of Blue Sabbath Black Cheer, 2 collaboration tracks from the harsh noise projects of Stan Reed and wm.Rage (Dried Up Corpse & Nervous Corps, respectively), and a 30min crushing minimalist harsh noise deconstruction of BSBC by The Rita (the opening salvo in a 2-part collaboration between BSBC & The Rita). Edition of 250 copies in a jewel-case with appropriate harsh minimalist art."

Too tired to say much. If you know these guys, there won't be anything too surprising here. I've been searching for their more obscure tapes and the boxes on Enterruption for years but never got even close to being able to buy them.

There's a great interview with 2 of the band here if you want to know more. Shouldn't admit this but I never knew that Blue Sabbath Black Cheer took their name from a Gravitar song (Blue Sabbath) and that Geoff appears on some of the BSBC gear.

Gravitar were an American band who appear to be influenced by K.K. Null’s work in Zeni Geva, with similar dense walls of oppresive guitar but more expansive in it's approach. Self-proclaimed as the "world's loudest Jazz band" and described by WM. Rage as "Too noise for rock, too rock for noise...". Extreme music inspired by everything from Charlie Parker to John Zorn to the sound of breaking glass. Heavy and harsh walls of psychedelic noise!!!

YBO² (pronounced ee-boh ee-boh). A reckless, neo-progressive, psychedelic power troupe. YBO²’s predominantly self-released canon remains largely unavailable in the West. In a sense, the floating line-up represents an inverse supergroup...when they stopped playing in 1990ish (they reformed 10 years later but it didn't work out) it's members went their seperate ways and made some of the greatest music ever. Drummer Tatsuya Yoshida masterminded the hypercomplex duo Ruins (who originally featured another YBO² alumnus, guitarist-bassist Hideki Kawamoto) and is a member of Koenjihyakkei, Korekyojinn, Musica Transonic and various Acid Mothers' projects. Original YBO² guitarist Michio Kurihara abused his wah-wah in the esteemed White Heaven, played with Marble Sheep, currently participates in Ghost and has recorded and played with Boris. Kazuyuki Kishino has hammered out a host of avant-metal and noise works both on his own as K.K. Null and Null and with Zeni Geva and Absolut Null Punkt. Chu Ishikawa created the score to Shinya Tsukamoto's groundbreaking film Tetsuo the Iron Man. Hiroshi Hasegawa created Astro and C.C.C.C. It is even rumoured that, at times, the group included Masami Akita (yeah, that Merzbow bloke). I can not believe that there is a group that has ever spawned such genius!

Can't find any info on the Taiyou No Ouji lp, but here it is anyway. If anybody has any other YBO² releases...please share! Particularly the Yhwh....Black Omen II "Kingdom Of Familydream" lp

A while back I was going to drop an ASC post. On my travels, I found an absolutely brilliant blog that had posted quite a few already. I have a lot more that aren't there but decided to give that blog some props and move on to something else instead.

But I forgot to give the blog the respect it deserves. Anyway...

Check out Flashing Light Will Blind Us and you will find a good healthy dose of ASC and a lot of other gems. Check out the Tokyo Flashback series she/he/they have up there! I was gonna post it but checked to see if it was already up somewhere (that's how I found the blog). Looks like I was beat to the Wheels Of Confusion post as well but I didn't lift it from there, it came from my own collection...great/simple minds think alike I guess! I might return to ASC and fill in the gaps...but might not.

Astral Social Club is the work of Neil Campbell by the way. Probably best known for his work with Vibracathedral Orchestra, he is a prolific solo artist, contibutor and collaborator. You really should check out his work! A lot is still for sale and he releases fresh material regularly and you can keep in touch here. Neil also uses Discogs to sell his gear here and is always helpful and takes time to answer any fanboy questions you might have.

In a world full of information overkill, Violent Onsen Geisha is a rare and mysterious thing! As in...there's very little info out there. Basically, Violent Onsen Geisha is the work of Masaya Nakahara although for years he created a history of VOG as a group whose members mysteriously died one by one (Spinal Tap drummer style, if you prefer). I suppose this provides the key to his work as Violent Onsen Geisha...sly and ironic, bizarre and sarcastic...creating a history which cloaks him in mystery so that he can enjoy himself in relative anonymity. Basically what you get is kitsch soundtracks and hippetty hop and blasts of disco and found sound and field recordings and spoken word and noise. You can see the smile all over his face...well I can! He has since moved on to work as Hair Stylistics which is more straight ahead blistering noise but with the same cheeky sensibilities leaking through.

What you get here is all that I have. There were two different versions of Otis (naturally you get both here), check Discogs for info. The U.S. Tour cd contains live collaborations with Smegma, Trumans Water and Thurston Moore respectively. Zashikionna Remix is half of a double cd by Minetaro Mochizuki & Violent Onsen Geisha that came with a magazine apparently. I have never seen that or I would have bought it and posted the full deal...if anyone can sort me out with the 1st disc I will love you forever (or at least for a bit). Sod And Sodie Sock comes with an additional disc...same deal. Dada Junk Spew! is a bootleg of the original tape on Chocolate Monk from 1995 which appeared from somewhere last year. It also includes the collaborative track 'Silver Afro Funeral March' which appeared on the 'Studies For Postal Orgies' cassette (which came with 50 copies of the first Prick Decay LP). Shocking Early Works 83-85 Vol. 1...who knows?

Lifted this from discogs as it tells you all you need to know at this point:

"The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time. Growing out of the extreme performance art group COUM Transmissions, TG redefined music and laid a large part of the groundwork for all electronic music that followed. From their first performances in 1976 to their last gig in San Francisco in 1981 (recorded and released as "Mission Of Dead Souls"), they challenged and threatend so-called "normal" society - denounced from the floor of the House of Commons as "Wreckers of Civilisation" as the Coum Transmissions "Prostitution" art show in London's ICA (at which TG played their third show) came close to causing riots and set the stage for the punk revolution. Musically, they were extreme and uncompromising, using technology to make anti-music, which redefined music for all time. Their experimentation led them to pioneer sampling and looping techniques adopted by many of those who came after."

This material was originally released in 1980 as a set of tapes in a limited edition of 50, complete with a natty little briefcase. It was 49 really as Mike Wilkins of Industrial Records made #50 for himself. Staggeringly expensive at the time, but an essential document in that it catches Throbbing Gristle (and the attendant riots) in full on attack mode. Re-released on cd in 2002, this is the 25 disc version that was only available on pre-order from Mute. Whilst expensive, this was hoovered up by speculators so they could offer it back to you for five times the price.

Still staggers me that these were recorded 30+ years ago ... Throbbing Gristle were truly ahead of their time. If you want further info on Throbbing Gristle and Coum, there are two fantastic books out there (this one and that one) that I highly recommend.

As an aside, when I bought the Twenty Jazz Funk Greats book from Waterstones, a bosomly matriarch scanned the book and proclaimed "Ooohhh, Throbbing Gristle" at a volume that reverberated right across the shop ... still warms me cockles to this day!

I have heard that there is a theory doing the rounds that there is such a thing as too much Wolf Eyes. Then again, some people believe in god and fairies at the bottom of the garden. Bah! Lunatics all!

Asylum Style is a series of 10 seperate releases on American Tapes dropped between 2003 and 2005.

Have you ever felt that you have bitten off more than you can chew? This post has given me indigestion that you wouldn't believe.

"Identity Amnesia" seems kind of appropriate (although it's a recent Ramirez solo release ... but the picture's cute)! More prolific than you can imagine. The better known Black Leather Jesus and Werewolf Jerusalem have already been been featured here before. Here are some of his other issues. Master of the Harse Noise Wall but there is much more differentiation than the casual observer would imagine. Some have appeared elsewhere...some definately haven't.

Demons are Nate Young (Wolf Eyes, etc) and Steve Kenney (Hatred, Isis & Werewolves). Demons use synthesizers to explore near-epileptic fits of droning synth textures that elicit comparisons with earlier European electronic pioneers (such as Stockhausen and Cluster) whilst simultaneously bludgeoning forward with the grating and scraping atonal complexities of Whitehouse and Throbbing Gristle. Subterranean atonal analog rumblings compete with laser-sharp extraterrestial blasts and hums. Since forming in late 2005, Demons have evolved from a synthesizer duo to include video artist Alivia Zivich into a "Visual Music" trio to produce discomforting psychedelic multi-media performances. Working under the name “Video Madness” she often uses the music of Demons as soundtracks to her analog video experiments.

Most Demons output is released via Nate's AA Records (which you can reach here). The site appears to be in hibernation at the minute but you can still grab a few of their releases at Fusetron. You can also grab some of their fantastic dvd releases here.

Demons are touring with Sick Llama soon, so hopefully there will be new output in the near future.

Before you get too excited...the Life Destroyer box only has the audio rip of the dvd (with the cd and tape of course) and 080206 doesn't include the (extremely limited) 1-sided lathe cut locked groove 5".

Bark Haze is primarily a guitar duo of Andrew Macgregor (who also records as the wonderful Gown) and Thurston Moore (Sonic Youth etfuckingcetera). They are occasionally joined on drums by either Pete Nolan (Magik Markers, Virgin Eye Blood Brothers, Spectre Folk, GHQ, etc) or John Moloney (Sunburned Hand Of The Man, Howlin' Rain, etc). Their name came from a mis-hearing of theradical early 70s R+B group the Bar-Kays and from that moment the concept of mis-hearing and allegiance to presenting the mis-hearing as some open-ended musical course became The Bark Haze's identity. Their debut gig in the UK was at the 2006 Nightmare Before Christmas ATP event that was curated by Moore.

You should know what to expect: open ended effects pedal drenched free-guitar blow outs.

This is the post that, without a doubt, gives me the most pleasure to give to y'all! Dick Flick is the pseudonymous main brain behind the crazed kalaidoscopic world of the BPO. Hailing from Seattle, he is regularly joined by various incognito waifs and strays (especially live) to create delirious, crazed, perverted and sacriligious soundscapes.

Imagine a cartoon cut-up assault filled with rapid-fire samples, vertiginous switchback edits, lightning bolts of noise, loops spun inwards, outwards and upside down, and gratuitous FX abuse. Imagine Uncle Meat/Lumpy Gravy style Zappa/Mothers Of Invention, harsh electronics, porn flicks, televangilists, sex instruction manuals and public information docs shredded and turned inside out. Got it? You're not even close! I listen to BPO a lot. I find myself laughing my face off or dancing around the room or curled up in a corner, gently rocking, trying to convince myself "everything is gonna be OK". And that can be during just one track. It's a wildly ecstatic and nauseating ride!

It's live where the true hypnotic and hallucinatory genius works best of all. Check the dvdr that comes with Fuck Rockin' In American Airspace. The video cut-up meshes with the sound collage perfectly. And, check the 6 man "Fear God" dance troupe towards the end (...yup...you read that right). Absolutely hilarious!

Special thanks to Herr Flick for getting me into this in the first place a good while ago. And for ocassionally sending me the odd tape and vinyl treat. But especially for being so enthusiastic about me posting this. He's a good human! They definately put some crazy drugs in the water in Seattle...I wish I lived in Seattle!

Stimbox is the work of Tim Oliveira, and was one of the more established names in the American harsh noise scene. Oliveira was also the founder of the Hebi Like a Snake record label, and co-owner (with Bob Scott of Xome) of the Harsh Noise label. The Harshnoise label was active from 2002 through 2008. During those years, the label released some excellent (invitation only) harsh noise releases from some of the best artists in the field. Initially, it was operated by both Tim Oliveira (Stimbox) and Bob Scott (Xome) but eventually Tim took over the whole operation while Bob concentrated on other endeavors.

Stimbox's work is noted for its' dense, psychedelic harsh noise, usually made with closed feedback loops run through a huge range of effects pedals with a trademark blend of grating harsh and synthesized textures. There's a short mini-doc at the bottom...he can tell you better than I can.

Ages ago, somebody requested a Stimbox post. Didn't act on it at the time because I hadn't actually heard that much...but it was enough to set me off. Thanks, whoever you are. There are dozens of releases going back to the early 1990's...but they are really hard to get hold of and this is all I have. Tim seems to have folded his operations a couple of years ago. If anybody knows what he is up to these days give us a shout!

Initially, Nautical Alamanac were a Michigan based duo consisting of James Twig Harper and the seemingly omnipresent Nate Young (Wolf Eyes, etc). Owing much to the Michigan noise scene, they started out as a rouge 'crash and smash' terror band, playing anywhere possible using confrontational tactics. With the addition of Sol Meltzer on percussion they realigned under a non-traditional "rock" motif. In 2001, James and partner Carly Ptak relocated to Baltimore and from this point the (floating) membership centred around the duo with the addition of Max Eisenberg on percussion. In Baltimore, they refurbished a three-storey building themselves and dubbed it Tarantula Hill. It quickly became an essential lynchpin for art, music performance, and the backbone for Baltimore's experimental scene and clubhouse for all traveling noise artists and experimentalists passing through the area. They spent years constructing and hot-wiring countless pieces of found materials and creating fantastic recycled homemade instruments: gutted electronics, rewired circuitry, metal...you name it, it was all thrown into the mix.

In March 2006, whilst Nautical Alamanac were in New York for the No Fun Fest, Tarantula Hill burnt down. In a crushing blow, James and Carly lost years of work and instrumentation, but more importantly, their cats died as well. Their musical community ralleyed around in impressive style, raising funds to help get the couple back on their feet. From here, apart from occasional live performances, I'd thought that the Almanac had folded. James and Carly started putting out solo works...Twig in particular is busy building up a substantial body of excellent releases. Recently, I realised that in the past year or two, Nautical Almanac had been putting out a series of sneakily released lathe-cuts in editions of about 15. I say sneakily because, I was sleeping and missed the lot. Here's hoping for some cdr rereleases!

Nautical Almanac’s sound is somewhere between analog improv and improv comedy. What results from these colliding philosophies is a carefully considered chaos born of technological refinement and cannibalism. In gradually becoming more accessible in form, it seems that the ideas had to be pushed further so the focus of the band was on creating an unpretentiously fucked-up and poetically damaged sensibility.

With Harper and Ptak constantly wiring gear in new configurations and adding new devices to its arsenal, each release is different. They may tinker strictly with machines, but aside from the hardware, Nautical Almanac have far more in common with the free-folk movement than the anti-music industrialists of the noise scene. Beneath the tinnitus tones, broken pitch bursts and malfunctioning oscillator currents, it's the same freeform flux as The Sunburned Hand of the Man, No Neck Blues Band or even Sun City Girls. Only it’s been corroded beyond recognition.